LP - Afflicted Man - I'm Off Me 'Ead (Official 2013 Reissue, Repress, Black Wax, Ltd 300) - $17.99 - BUY
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OFFICIAL 2013 REISSUE, REPRESS, BLACK WAX, EDITION OF 300
Permanent Records' 36th label release! - "I'm Off Me 'Ead" is DIY psych punk (or "Hippy Punk" as Steve Hall calls it) at it's finest, but don't just take my word for it. Heavyweight record aficionados such as Henry Rollins, Byron Coley, Tom Lax, Doug Mosurock, and Geoffrey Weiss are BIG fans...
The idiosyncratic music critic, Byron Coley (Forced Exposure, Bull Tongue, Spin, Wire, Arthur), really lays it out there: "Steve Hall's Afflicted (Man) project was one of the greatest mystery wobbles to come out of the Brit DIY explosion. Trying to figure out what the hell these records were about took years to unravel. We even thought there might be a Nurse With Wound connection when United Dairies released the Afflicted Man's Musica Box LP. We were stupid, but can you blame us? The slurred psych blues of I'm Off Me 'Ead were so unlike anything else going on at the time, it almost seemed like the whole thing had to be a put-on of some kind. There had been those earlier records, sure, this one felt way different. The concept of UK stoner-punks had existed for a few years, but their output had tended towards the arty end of things before this. There's a latent brutality to Im' Off that truly lashed our feeble minds. But maybe that's only because L.A. was awash in very good acid right about then. Still, it remains extremely difficult to place this music inside the contextual history of what was going on then. Jesus, I would have loved to have caught a gig or two. Unimaginable. I bought I'm Off Me 'Ead at the old Vinyl Fetish store on Melrose in '81, same year I finally managed to snag a copy of Randy Holden's Population II, and they were both records I'd play to anyone who dropped by our pad in Santa Monica for a listening session. The utterly fucked-up-ness of both guitarists never failed to astonish anyone who wasn't too wasted to acknowledge what they were hearing. And so it is."
Tom Lax's Siltblog posted this: "Afflicted Man's style could best described at stock-in-trade Brit DIY w/an almost Street Level sort've quality to it…Too freaked out for punks, too punked out for freaks... must've felt like a rusty safety pin stuck straight through the heart of whatever DIY fanbase Hall had acquired. And for all the Pink Fairies or Hawkwind type's that mighta come across it, it was too primitive & animalistic for their quid."
Geoffrey Weiss' is one of the most venerable record collectors in the world. He summed it up like this: "Deliriously incompetent, frighteningly direct, and bafflingly out-of-time, there is no doubt that Steve Hall is in touch here with something most of us can't get near. "
Still Single's Doug Mosurock had this to say: "I wrote a long piece about Steve Hall for Dusted when the Afflicted Man bootleg 2xCD of all the recordings came out a few years back. Without necessarily rehashing that piece, I will say that the second LP he made, as Afflicted Man, is the keystone between psychedelic rock of the ‘60s and punk of the years building up to its 1980 release date – and unlike some sort of halfway psych-squatters on punk aggression (Hawkwind, Gong) or the militant side of punk (Crass, Conflict), Afflicted could easily walk between both worlds without question, simply because he realized that the path between punk and psych was a one-way deal, and you had to start in punk to go back in order to reach the crazed highs realized on I’m Off Me ‘Ead. (Drugs helped a lot, to be fair.) Permanent’s reissue puts this fine album into perspective, with interviews from today and a long piece care of Chris Stigliano, published decades ago in Forced Exposure issue 9, and it seems that one of the only afflictions that followed Hall through his career was trying to avoid support by skinheads and fascists, hence his long-assumed National Front ties which have since been vehemently refuted. Just because you added rock elements back into punk should not put you in the same league as Skrewdriver. Anyway, now is the time to JAM THE FUCK OUT to long, rattled blasters that connect Billy Childish to Mick Farren, and serve as the bridge to the final Afflicted Man release, 1982’s Get Stoned Ezy. Very much worth your time."
We here at Permanent absolutely love this record and are incomprehensibly honored to be the label reissuing it on vinyl for the first time ever. It's been fully licensed by Steve Hall himself and painstakingly remastered by the total pros at Penguin Recording in Eagle Rock. The jacket artwork was graciously reconstituted and touched-up by Bill "Trouble In Mind" Roe. The full-color "I'm Off Me 'Ead" inner sleeve contains a bunch of unseen Afflicted Man photos, an unpublished interview with Steve Hall and a fully authorized reprint of Chris Stigliano's article from Forced Exposure #9 (Winter 1986).
The second pressing (let's hope there's demand for multiple) is limited to 300 copies worldwide.
RIYL: Hawkwind, Pink Fairies, Deviants, The Fall, Alternative TV, Coloured Balls, Michael Yonkers, Vic Godard, Mark Perry, Private Press / Outsider Rock, and REPETITION
BACK IN PRINT! LIMITED TO 300 COPIES!
In 2010 Expo ’70 bass/synth player Matt Hill went solo. His debut LP under the Umberto moniker is an analog masterpiece heavily influenced by the classic film score work of Goblin. From the moment you drop the needle, you’ll be transported to Italy as an extra in a vintage horror flick directed by Dario Argento. This is some of the most authentic sounding music of the “Giallo” genre we’ve ever heard. Time has shown that many others have come to agree. "From The Grave…" was previously only available as a hyper limited edition CDr and cassette tape via Sonic Meditations. We loved it so much we pressed it to wax, then repressed it to wax, licensed it to Burka For Everybody in 2011 for a single Euro-pressing, and are now finally finding ourselves repressing this out-of-print gem once again.
Reviews of Umberto “From The Grave…”:
From aQarius Records:
"Doubtless many movie (and music) buffs would agree that Italian '70s and '80s "giallo" (horror/thriller) cinema, from directors like Dario Argento and Lucio Fulci, had soundtracks usually as evocative and inspirational as any visual aspect of the films, soundtracks which often stand as effective works of art all on their own. The scores by prog band Goblin being perhaps best known, influencing such modern day bands as Zombi and Crime In Choir. Now here's another, utterly blatant and most excellent example of Italian giallo soundtrack worship by a current artist: Umberto!
Umberto has a heavily synthesized sound, keyboards buzzing and droning and squelching, crunchily distorted or eerily ethereal, sounding at once like ominous Gothic organ music and also spacey futuristic electronica. Mechanical drumming plods along, propulsive beats adding to the menacing atmosphere. There's also plenty of fat disco synth-bass, and we bet folks into Italians Do It Better 12"s, or Black Devil Disco Club, or even skweee would get a kick out of this too, not just Goblin fanatics... but yeah Goblin fanatics (and John Carpenter and Zombi fans too) REALLY ought to check this out! Very cool, very creepy, and even at times kinda catchy-groovy…"
From Dusted Magazine (Patrick O’Donnell):
"Mining the classic soundtrack work of John Carpenter and Goblin has become a small cottage industry in recent times, with Zombi in particular making a career out of this niche genre. Umberto (a.k.a. Matt Hill, sometimes of Expo 70) has provided us with the newest example with From the Grave, an LP that skirts the edge of Soundtrack for an Imaginary Giallo territory. What saves the project from paling in comparison to his influences is the way Hill skillfully merges them – his songs are generally anchored by pulsing synths, and then layered with progressive rock keyboards. Much like Zombi, this ends up being danceable music, although Umberto generally eschews the harder edge of Zombi’s work. Hill also seems to have a judicious eye for doling out cheese, never letting his music enter into the realm of irony while clearly not taking things too seriously."
From Synthtopia:
"Umberto’s From The Grave is the soundtrack to the 70′s Italian horror movie that exists only in your imagination."
From FEARnet:
"Another modern aritist whose creative heart beats somewhere around the year 1981, Umberto (a.k.a. Matt Hill, also known for his work with cosmic-rock unit Expo 70) draws inspiration just as heavily from the music of John Carpenter as from Italian horror soundtracks. Also worth noting: his debut full-length album From the Grave has the distinction of being the first album ever inspired by Juan Piquer Simon's splatter classic Pieces (or at least the first artist willing to admit it), so now you know exactly where this cat's coming from."
Hey you, stop counting the days, cuz FUZZ IS IN THE BUILDING. Three teaser singles didn't satiate us, so thank god we finally have the self-titled debut by Fuzz to crank all the way up til the neighbors complain. YES! Take from here In The Red:
"Fuzz is Ty Segall (drums / vocals), Charlie Moothart (guitar / vocals) and Roland Cosio (bass). They’re heavy rock lifers—three California-bred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually). If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early ’00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass.
They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into full-bore choogle. Maybe you’ll even glimpse the ghost of Australian guitar legend / sharpie guru Lobby Lloyde sniffing around “Raise.” The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? It’s a record for the burners."
"This TIme I Got A Reason" grabbed us by the ears and wouldn't let go. Then "Sleigh Ride" 7 inch turned us into junkies. And then came the "Sunderberry Dream" single which, as far as we can tell, has whipped up a frenzy from coast to coast. So here it is, no riots, there's enough Fuzz to go around!!!!!! We're not sure exactly what happens when Ty, Charlie and Roland get in the same room, magic maybe, but the words "power trio" don't do it justice. Get ready to journey through halls of RnR most unruly forefathers, from the garage rock unknowns to the psych rock warriors and on through the proto metal heads and into the cosmic realms of anyone who dared to take guitar riffs and RnR pummeling to whole new levels. HOLY SHIT THIS ALBUM IS OUT OF CONTROL GOOD. But don't let us try and convince you. Let yer ears walk your through the checkout line. THIS ONES MEGA RECOMMENDED!
We never thought we'd see this day come, but low and behold Goner and Aarght Records are reissuing the first three deranged, down under punk classics from Cosmic Psychos. FUCK YES! Mean, unruly Aussie RnR doesn't get any better than this! If you're as stoked as we are, head for the shop NOW. If not read on for a proper introduction from Goner head honcho, Eric Oblivian here:
"Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. A full-length documentary film, Blokes You Can Trust, accompanies Cosmic Psychos as they tour the United States in the Fall of 2013."
"Down On The Farm" isn't just the Cosmic Psychos first record, it's a hands down ugly punk classic, and one of the best Aussie RnR LPs you can get yer grubby little hands on! Released the same year ('85) as the first fEEDTIME LP and as necessary, "Down On The Farm" is a five song outburst of truly searing, drunken rock n roll, equal parts garage rock debauchery and punk rock anarchy. Pretty much everything that came out on SST, Sub Pop and Amrep after their 12 ep debut owes a huge fucking thank you to Cosmic Psychos!!! We're not sure why it took 28 years for "Down On The Farm" to get reissued in America, but thank god Goner and Aarght Records are giving some love to one of our favorite Australian bands of all time. Dudes, let's just summarize by saying YOU NEED THIS EP. INSANELY ESSENTIAL AND RECOMMENDED.
We never thought we'd see this day come, but low and behold Goner and Aarght Records are reissuing the first three deranged, down under punk classics from Cosmic Psychos. FUCK YES! Mean, unruly Aussie RnR doesn't get any better than this! If you're as stoked as we are, head for the shop NOW. If not read on for a proper introduction from Goner head honcho, Eric Oblivian here:
"Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. A full-length documentary film, Blokes You Can Trust, accompanies Cosmic Psychos as they tour the United States in the Fall of 2013."
"Cosmic Psychos" was their first proper full length, following the 12 ep "Down On The Farm" two years later. Containing all the drunk, vitriol of their debut and continuing on their noisy, stripped down mix of Coloured Balls, Radio Birdman, Birthday Party and the Stooges, but you know in that distinctly misanthropic Aussie way. Their self-titled debut melted more than a few minds across the globe, and in spite of never getting a stateside release until now. You wanna know what Mudhoney, the Cows, Halo Of Flies and every other rock band we love was listening to in '87? The fucking Cosmic Psychos!!!! Seriously they might've caused a rock n roll revolution if the weren't so concerned about just having fun. Thanks to Goner and Aarght we don't have to beat anyone up to finallly have some Cosmic Psychos LPs in our collection. INSANELY ESSENTIAL AND RECOMMENDED.
We never thought we'd see this day come, but low and behold Goner and Aarght Records are reissuing the first three deranged, down under punk classics from Cosmic Psychos. FUCK YES! Mean, unruly Aussie RnR doesn't get any better than this! If you're as stoked as we are, head for the shop NOW. If not read on for a proper introduction from Goner head honcho, Eric Oblivian here:
"Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. A full-length documentary film, Blokes You Can Trust, accompanies Cosmic Psychos as they tour the United States in the Fall of 2013."
Two years after their self-titled affair, the Cosmic Psychos struck again with "Go The Hack." The year was '89 and this time Sub Pop decided to release this corrosive balls-out gnarl punk classic in America, just in time to kickstart the grunge upheaval. Well maybe, but the Cosmic Psychos muscular aggro RnR was for sure more in yer face and menacing than yer average Seattle band. Everyone from the Mudhoney to Pissed Jeans owes more than a small debt to Cosmic Psychos and their second LP "Go To Hack." Just spin the first song "Lost Cause" and you'll know why! It's another Aussie classic you can file next to yer fEEDTIME, Coloured Balls, Venom P Stinger and Scientists LPs, SO LEAVE RIGHT NEXT TO YER TURNTABLE FOR REPEAT LISTENS!!!!! Don't miss out on "Go The Hack" a second time around. INSANELY ESSENTIAL AND RECOMMENDED.
Danger Records outta Paris offers up this legit reissue of the Lucrate Milk 1981 single. Primitive, primal and angular DIY post punk skronk ragers with bleating saxophones, wonky bass grooves, tribal drumming and frenzied female yelps are what Lucrate Milk are bringing to the table. So if you like Liliput/Kleenex, Messthetics comps, the Slits or Bush Tetras then grab this slab of art damaged early French punk weirdness. Comes housed in a 6 panel fold out photo collage sleeve just like the original! Spastically Recommended.
Smart Guy Records has unearthed a lost post punk / synth punk classic in Perth, Australia's Division Four's one and only release, "1983 Demo Cassette." Read on for the details:
"Unearthed by Stumbles of Perth, Australia’s hardcore heros of yore Rupture, Divsion Four were only able to burp out a six - song cassette in 1983 before they faded from memory. Whether this was due to apathy / indifference on the part of the band or the audience no one remembers but what they left behind leaves little doubt that they were on the right track sonically. Employing post-punk sounds along with dollops of menace, the band had little use for guitar and relied most heavily on their synthesizer and dual bass players for a sound that one wouldn’t be surprised to hear pouring from Gary Bushell’s earbuds. Oi! Division? Perhaps..."
Joy Division fronted by a seething, ferocious hardcore punk? Maybe? We think a more sinister version of the Screamers, or Johnny Rotten fronting Orchestral Maneuvers In The Dark? Or maybe even a young Mark E Smith subverting Depeche Mode? Maybe! But whatever your take on this surreal dark six song ep, you'll hooked from the first chord on the spaced out synth. Man why didn't these Aussie punks keep it up? Who knows, but thanks to Smart Guy we at least have this weirdo synth punk ride to take over and over again. SUPER RECOMMENDED!
Melbourne's Cuntz recently trekked through a 2013 US tour, making stops at both Permanent locations and fittingly melting our faces. Well Cuntz' drummer laid a stack of this Bone LP on us cuz he plays with them too! We'll let the Sonic Masala Blog fill the details here:
"I know next to nothing about Melbourne band Bone. I was sent a couple tracks from their forthcoming album For Want Of Feeling by a friend from the band Nikko. And holy shit. I know I gushed about Batpiss' debut LP Nuclear Winter (and I still think its a stellar release - with an interview to come, we here at Sonic Masala HQ will be harping on about it for some time), and these tracks immediately had me reaching those teeth-gnashing heights. This is dirge, gruelling, bulldozer-relentless. Jesus Lizard/My Disco/Kong - repetition, bottom end, bottom fed. Depressive yet undeniably powerful - moving mountains under great duress and monotonous chagrin, only to move them back again, ad infinitum. I really need to know what grit these boys are huffing down; we all need a little metronomic evil in our lives."
Man, if you dig the sonic thuggery of Cuntz but like your noise rock even more bummed out then cop this "For Want Of Feeling" LP out on Tenzenmen Records pronto. It supplies all the misanthropic negativity of the AmRep catalog mixed with the Iron Lung Records catalog; mid-tempo minor chord heavy pig fuck squalor. Thundering drums, tortured guitars, fat bummed out bass dirges and agonized yowls make up "For Want Of Feeling" letting the listener know that Bone is here to bruise and punish and pessimise! Brutally Recommended.
ONE TIME PRESSING OF 500 COPIES
Unbelievable!?! Little Big Chief Records has officially licensed this private press psych/folk/prog album by late 70's/early 80's Greek group Pete And Royce. The Mutant-Sounds Blog has the full history lesson below… Read on:
"Despite its extreme scarceness, this is a very important record concerning the evolution of the greek underground of the late 70ies. In order to recapture the spirit of the days, I will relate its release with a brief description of the socio-political framework of the greek scene of the times.
The presence of the military junta during the late sixties and early seventies has been quite a deterrent for the local rock scene, having prevented a musical development concurrent with that of other European countries. To complete the picture, after the restitution of democracy, there was the obvious hostility of the greek communist party towards the "cultural imperialism of U.S. patterns of life" that was added to the overall paranoia. Under these political constraints, the mid seventies heralded an explosion in the greek underground scene. Not only in music but also in all other forms of art as well as in political activism, a stream of radical innovation was omnipresent. The principal expressions of this phenomenon were the gradual change of several areas in Athens to freak hang-outs (Plaka and Exarchia Square), the turning into rock clubs of many traditional folk music taverns and in general the adoption of alternative lifestyles by the most advanced of the younger people. Thus, a small radical core began to show its presence nearly everywhere in the big cities, spurred on primarily by the fall of the military regime but also by an obvious desire for social change. Having to face a new, uncontrolled phenomenon, the conservative greek society undertook a hostile stance, with the mass media printing slurring against the new movement and approving the autocracy of the suppressive forces. As was to be foreseen this behaviour did nothing if not strengthen the cohesion of the alternative scene. A space for free and virtually limitless forms of expression was opened and many bands quit their previous mainstream direction and jumped on the alternative bandwagon. Unfortunately the local record companies were reluctant to release any underground rock music, not necessarily from a political but rather from a commercial point of view: they assumed that there wasn't enough of a potential audience for the genre to make it worth while. Thus, the majority of the groups of the era disappeared without leaving any recorded traces.
PETE & ROYCE were one of the few local progressive bands operating in such framework (others like PLJ BAND for instance, never identified with the alternative rock audiences in order to achieve a major label deal). Led by painter Pete Tsiros, they have made a name in the underground network, based on lengthy "hazy" concerts and an uncompromising underground attitude. Their sound was deeply rooted in the UK progressive scene, sitting somewhere between the prog/psych sound of mid-period PINK FLOYD and the mellotron school (FANTASY, CRESSIDA, KESTREL, early B.J.H.), resulting in a style heavily relying on mellow soundscapes.
During spring 1980 they captured on self-released vinyl the best tracks of their live shows. "Suffering of Tomorrow", was one of the very first greek private releases (on the mysterious Octoichos label) and the band's debut album, loosely based on the concept of death and decay (it is dedicated to Tsiros' deceased brother). A period piece undoubtfuly, but with that exquisite basement feel encountered in the early 70ies british proto-progressive bands it is one of the essential Greek progressive albums of all times. Their second offering "Days of Destruction" (1981 _Ocean) was somewhat more unevenly balanced, as folky progressive influences were blended together with a more mainstream and somewhat uninspired approach; funky orientated mainstream sounds and afroamerican female vocals. They disbanded in 1982, during the era of the punk boom, due to general indifference towards their recorded output and their members were lost from the music scene."
"Suffering Of Tomorrow" is a splendid album rich with tragic beauty, heady arrangements and gentle long-form dreamscapes. Haunting, hypnotic, sublime, tranquil, lush, languid, essential and Recommended.
The Superior Viaduct label keeps up its amazing re-issue campaign with yet another breath taking release. This time it's Sensations' Fix 1974 debut "Fragments Of Light." We'll let the Superior Viaduct folks fill you in on the history behind this one:
"Sensations’ Fix guitarist, keyboardist and occasional vocalist Franco Falsini cut his teeth with Italian groups in the ’60s before assimilating the heady guitar virtuosity of English rock. In 1969, he moved to Virginia and built a recording studio in his girlfriend’s basement, employing little more than his guitar, the newly available Minimoog synthesizer and a 4-track machine. These raw tracks, intended to be simple demos, formed the base of Fragments of Light, the debut album by Sensations’ Fix. Originally released on Polydor in 1974, Fragments of Light does not bend to mid-’70s genre-classism. Fluid, meditative guitar leads and innovative use of synthesizers, combined with a noted lack of percussion (and vocals) on all but a few songs, have drawn comparisons to Kosmische legends Tangerine Dream and Popol Vuh. “Space Closure,” the only track with live drums, resembles the kinetic progressive rock of fellow Italian Franco Battiato, while the shimmering bliss of “Do You Love Me?” rivals the American power pop that Falsini surely absorbed during his time in the States. A certain airy, homespun feel lends Fragments of Light its unique character. While other Sensations’ Fix records may sound more cohesive and polished, Fragments of Light remains the most personal. The album is sadly not well known outside of Italy, but Superior Viaduct hopes to rectify that situation with this first-time vinyl reissue."
"Fragments Of Light" is full of cosmic prog and free floating kosmische. If you dig the above mentioned Tangerine Dream and Popol Vuh or Ash Ra Tempel, Amon Duul and Soft Machine then do yourself a favor and grab this exact repro now cuz it is absolutely amazing. Super Recommended.
Urinal Cake Records is oozing with excitement for their latest release, the debut album from LA's Smelly Tongues, entitled "Slack Heep." Read on for a rowdy intro from Hozac/Victim of Time's, Todd Killings:
"Debut full-length album from Los Angeles' SMELLY TONGUES, featuring members of RED AUNTS, THE PIRANHAS, WHITE SAVAGE, SYZ, STATIC STATIC, DRUID PERFUME, INTELLIGENCE, THE BAPTIST CHURCH, and others. “This new concoction thrusts forth with such a promising post-punk stab in the chest, it's gonna take at least one outfit change and several hospital visits to get yourself straight. It's chock full of those sticky push and pull downer dilemmas that will make you miss work and daydream yourself into a nervous breakdown, sweating and waiting for something that used to scare you as a child, and eagerly staring down the ominous, hideous hooks. 'I can't help it, I'm obsessed, you're the best' has never sounded so perfectly uneffected and deranged, and it's with these razored chops that Smelly Tongues chop rigorously through the lush vegetation of modern primitivism and burst onto the unsuspecting faces of America's broken avant garde with the confidence and swagger of a jackal on a weekend death trip.”
Well we love the Intelligence, Red Aunts, White Savage and SYZ, so of course we got exited when we heard rumor of this killer new noisy post punk supergroup of sorts, Smelly Tongues. And man oh man do they deliver on their first lp. "Slack Heep" is full of wiry angular guitars, no wave attitude, and plenty of dark, jagged post punk twists and turns. Fans of Protomartyr, Far Corners, Rank/Xerox, the Mallard and Psychic Teens are gonna want to grab this one soon, cuz it ain't gonna last long. A truly addicting, razor sharp first effort and a HIGHLY RECOMMENDED ONE AT THAT!
LIMITED TO 250 COPIES
Yep you guessed it… another fine outing from the unstoppable Fuzz Club Records camp. Get the full scoop directly fro the label:
"On "The Third Sound of Destruction & Creation", the band move from the realms of realityand into that of the thoughtful imagination. Serene guitars penetrate over the husky vocals, unlocking the doors of the surreal, the glimmering waves of percussion collectively consume the listener. The sophisticated spiritual leaning of the record makes it impossible to catagorise, The Third Sound present a darker side to rock and roll with touches of psychedlia, its gliding nature comes into a whole new magical world of its own."
Gleaming guitars, thick sustained bass lines, a steady beat, shimmering keyboards and breathy almost whispered vocals drive this record of slow burn spiritual psychedelia. This is the first we've heard of Third Sound and we're liking what we're hearing a lot; hints of Spiritualized, label mates Singapore Sling and Underground Youth, a touch of the Bad Seeds dark beauty and nuance is making for some lovely listening indeed. "The Third Sound Of Destruction And Creation" is a hand-numbered edition of 250 on thick black wax and you bet it comes with our highest Recommendation.
EDITION OF 500 Copies
We have another dose of heady psychedelia from the absolutely ruling Fuzz Club Records. This time around we are offered a lysergic tab from UK act Underground Youth with their "Delirium" LP. And "Delirium" is a dreamy ride of shoegaze/desert rock psychedelic majesty. Some glorious concoction of Jesus And Mary Chain, Black Angels and Brian Jonestown Massacre fused together to create lush laid back psyche jams that bristle along yet don't give up the swagger. Fuzz Club Records has been killin' it lately with just album after album of top notch psychedelia and "Delirium" is another great one to add to their ever growing catalog. This boss disc comes pressed up on clear 180 gram vinyl, is hand numbered and comes with a download. Come on in the water is fine! Recommended.
Limited to 300 Copies
Underground Youth bring another psych gem to Fuzz Club Records and it is more stripped down and refined. We'll let the Fuzz Club Records folks fill you in on the dream state sonics here:
"Manchester's answer to the current psych revival are The Underground Youth, the most intriguing hidden jewel of the city. On their new album Craig Dyer and the band tread between a heady mix of shoegaze and psychedelic rock. Ultimately, the band pull together the raw sounds of past genres and present them in a new light that equals in both a sinister and angelic nature."
"Perfect Enemy For God" finds Underground Youth honing in further on their sound with lush production work, dreamy blurred vocals and sophisticated dynamics ushered into their late night psychedelic invocations. We've been diggin' all the Underground Youth releases we've received so far from Fuzz Club Records and this one is definitely getting snuggled up to our other UY records on the shelf after we're done spinning it on repeat for weeks! "Perfect Enemy For God" is uber limited and comes pressed up on some thick high quality wax. Surely Recommended.
P-REX FAVE BACK IN STOCK!!!
The Ace Records label has put together 2 volumes of the cream of the crop of 60's ye-ye tunes (not already previously comp'd to hell) on these compilations and pressed them up in nice high quality gatefold jackets and colored vinyl! Read on for more info from the label:
"For “C’est Chic!”, the latest release in our recently launched HIQLP range, we hop over the Channel to France, epicentre of the 1960s yé-yé phenomenon. The album comprises a dozen hand-picked highlights from the top-selling all-girl CD of the same title, as issued to rave reviews on our newfangled Ace International logo a couple of years ago.
To quote one of many satisfied customers: “Absolutely infectious, frothy, frolicsome songs that will inspire earworm activity everywhere. As a consistent player on my CD tableau, this collection comes highly recommended for promoting happiness, giddiness and all good things conducive to long life. Definitely worth having if you want to hear excellent pop music that makes 45 years down the pike sound brand new. All you so-called pop divas out there should give this one a careful listen, because the musical craftsmanship of these pretty ditties is at the level of fine art. The singers, to a one, resonate with talent and verve. And that they’re all adorable French girls is an added bonus.”
Many of the foremost female vocalists to emerge from France during the 60s are featured, including ultra-chic cover girl France Gall, cult favourite Jacqueline Taïeb, top Gallic girl group Les Gam’s and iconic singer-songwriter Françoise Hardy. Of all the yé-yé girls, only the exquisite Françoise was afforded the privilege of consistent British releases throughout the 1960s. Her vast catalogue is so consistently excellent that almost any of her recordings could have graced this collection. The pragmatic fatalism of ‘Voilà’ clinched its inclusion. Also contained are two French-singing non-nationals: Danish actress Anna Karina and Cairo-born Liz Brady.
Songwriter Serge Gainsbourg, enfant terrible of the yé-yé generation, is represented by Anna Karina’s striking, almost punkish ‘Roller Girl’, the quasi-Spector ‘Non, A Tous Les Garçons’ by Michèle Torr and France Gall’s ‘Laisser Tomber Les Filles’. If the latter sounds familiar, you may have experienced it in a Tarantino soundtrack translated as ‘Chick Habit’ by arch Francophile April March.
Pressed on 180g blonde vinyl in heavy duty gatefold sleeve." - Ace Records
P-REX FAVE BACK IN STOCK!!!
The Ace Records label has put together 2 volumes of the cream of the crop of 60's ye-ye tunes (not already previously comp'd to hell) on these compilations and pressed them up in nice high quality gatefold jackets and colored vinyl! Read on for more info from the label:
“Très Chic!” is the much-anticipated sequel to “C’est Chic!”, our recent celebration of the yé-yé girls of 1960s France. Here are things you need to know about ten of the tracks:
Gillian Hills, cover girl of the CD version, is best known in the UK as an actress (Beat Girl, Blow Up etc) but she enjoyed a prolific recording career in France. ‘Tut, Tut, Tut, Tut’ is from her 13th and final French EP.
Actress Anna Karina, who graces the cover of the LP version, also enjoyed a parallel career as a recording artist. Penned by Serge Gainsbourg, the Shangri-Las-influenced ‘Sous Le Soleil Exactement’ is from the TV musical Anna.
‘Comment Te Dire Adieu’ is from the 27th of Francoise Hardy’s 29 Vogue EPs. Multi-lingual Françoise also recorded the song in Italian and German, but never in English. Shame.
It was rare for a French artist of the 1960s to record in English, or release a record in the UK. Jacqueline Taïeb was one of the few to do both with the ultra-collectable ‘7 AM’, a translation of her celebrated ‘7 Heures Du Matin’.
Although she recorded some great up-tempo numbers, dramatic Timi Yuro-esque ballads were the real forte of Liz Brady. ‘Comme Tu Es Jeune’ is a superb example from her debut EP.
Evelyne Courtois started out in all-girl band Les Petites Souris. In honour of Bacharach and David’s song, she re-emerged as Pussy Cat with a trio of solo EPs notable for her penchant for covering tunes by male groups.
Delphine’s sitar-driven ‘La Fermeture-Eclair’ is a Franco-version of We The People’s ‘In The Past’. Curiously, she didn’t just cover the song, but borrowed the original backing track too.
Elsa looked not unlike Cher, and performed in a similar jangly folk rock style too. She also recorded as Nicole Darde (her real name) and with her boyfriend Claude in the duo Arc-en-Ciel.
France Gall is the daughter of singer Cécile Berthier and songwriter Robert Gall. ‘Attends Ou Va-T’en’, from her seventh EP, is one of many tremendous numbers written for her by Serge Gainsbourg.
Brigitte Bardot’s ‘Je Danse, Donc Je Suis, written by comedian Jean-Claude Massoulier and arranger André Popp, is an example of how a simple rhyming pun can transform an ephemeral ditty into something more cerebral.
LP version comes on 180g blue vinyl in heavy duty gatefold cover." - Ace Records
